[Zacharie]

Title: Michael Turner' Fathom V4 (Click to go to the release post)
Writer(s): Scott Lobdell (Click to see other books from this writer released on this site)
Review source: Ray Tate (Don't click it, read the review here... )

" Fathom is going on my subscription list."
Review: Fathom #1

Fathom is everything that Aquaman should have been for the last 20 years. The eponymous hero of the book is a product of two undersea races -- the Blue and the Black. She was, however, raised human, and likes us. This affection gives her the want to defeat piracy on the high seas and teach the world about marine life.

I ignored this title for a long time. I will never like Michael Turner's artwork, which founded the noveau cocaine chic school of art: overall bad anatomy, emaciated women and flat faces that appeared to be products of close encounters with brick walls. I don't know how much Turner actually contributed to the conception of Dr. Aspen Matthews, a.k.a. Fathom, but if he was responsible for even half, I now see the potential of imagination that was lost with his passing.

Of course it could be that Scott Lobdell, an excellent writer, wrought the changes. Whatever the reason, Lobdell seems not to suffer from the common complaint of we don't know what to do with a water-based hero. I've said it before, and I'll say it again: the world is seventy-five percent water. Crime requires it. Piracy, human trafficking and environmental dumping all function through the medium of water. That's plenty bases for water-based action to cover.

Lobdell starts small. He opens the book with Fathom stopping a group of pirates defying the Coast Guard by threatening to kill the hostages on a yacht. Enter, Fathom, who sneaks aboard, places herself in an ideal position and promptly deals with the criminals. Fathom controls water, and Lobdell is well aware of what an impressive and scary power that is. He also wisely blows off the explanation.



Essentially a debut, Fathom presents some history for the new readers in the title character's winning narration, but Lobdell doesn't bog down the book with needless information. There was a war between those of the undersea and the humans. The undersea dwellers were victorious, and quite a few humans resent Fathom. Not all though.

After swimming knots -- yet more awesome might -- to reach Miami, Fathom comes assure to give a lecture. Fathom isn't just a powerhouse. She possesses a doctorate in marine biology and oceanography. That surpasses Aquaman and Namor. Her credentials also craft a female superhero that's actually a good role model. Women can be educated. They can be strong, and they can be beautiful. There is no conflict.

Fathom benefits from artists Alex Konat and Beth Sotello. I really didn't expect such remarkable art in an Aspen book. Like I said, Michael Turner's arwork made me physically ill. Konat however produces extraordinary beauty. Fathom looks good. She's presented as proportionate, with a generous waist and hips. Her muscle tone conforms to somebody that swam the oceans nonstop all her life, and her face bears depth. She actually has a nose.

Under the rich colors of Beth Sotello, the scene shifts seamlessly from above water confrontation to super-science oceanographic platform, and every setting takes your breath away with a lightly shaded, almost pastel, naturalism that also facilitates Konat's stunning scope, ideal for a war against an undersea parasite that has infiltrated humanity. Fathom is going on my subscription list.

More info:

Writer: Scott Lobdell
Artists: Alex Konat, Beth Sotello

Publisher:

[Zacharie]

Title: Butcher, Baker, Candlestickmaker (Click to go to the release post)
Writer(s): Garth Ennis (Click to see other books from this writer released on this site)
Review source: Ryan K. Lindsay (Don't click it, read the review here... )

" The first two issues were good and this one was fantastic."
Review: Butcher, Baker, Candlestickmaker #3

Butcher has always been a central draw to “The Boys.” This mini sets out to construct depth out of the inky mystery that made the main series so cool to begin with. It’s a tall order and it succeeds because of the structure Garth Ennis lays down for these tracks. In the opening issue, we got to know Butcher’s father. The next issue was the portrait of Butcher as a young man. This month, we get the one woman Butcher will ever love. There’s only one opportunity to tell these tales, and Ennis shows he’s still got what it takes to be one of the best.

There is a passion within Butcher that’s always been evident. His passion might currently be occupied with breaking super-powered scum, but we always knew there was a soft center within him once upon a time. Here, finally, we see what was worth so much that to lose it spent every drop of compassion Butcher would ever know. For such expectations, Ennis delivers a woman clearly deserving of all the years of wondering. Becky Saunders is an anachronistic creature in “The Boys” because she’s completely pure. There’s no menace, no self-serving attitude, no devious past, nothing but pure life and love as it should be.

Becky acts as a mirror held up to Butcher (something she actually does when they first meet) and points out his flaws. She then shows him all the ways he can improve these violent and self-loathing tics, and all the inherent good he harbors and ignores constantly. She toes the line of being too perfect and would cross it were it not for the finesse with which Ennis writes her and the situations he has her manipulate. A simple set up of a new sex position becomes a glorious awakening for our angry lead. It’s a difficult thing to show the bliss of a true love and Ennis, as well as artist Darick Robertson, do a sublime job.

It’s not all roses for Butcher upon sight of his angel. He is still an angry man with a very messed up family. The confrontation with his father, as the rest of the family aid the mother out of that toxic union, is a brilliant scene that explains Butcher’s problem completely. He’ll never get that shot at his father in his prime so you start to think maybe the Homelander, who is still in his prime, might be the final hurdle Butcher needs to get back at the world.

There are sex scenes and bruised eyes and broken old men for Robertson to bring to life in this issue. All these elements slot right into his wheelhouse and yet it’s the few pages he spends on a wedding day that are the highlight. He manages to truly show the majestic beauty of Becky, and he finally makes Butcher look happy. There’s no smirk, no laughter behind the violence. T his is just Butcher finally catching a break. It’s a great moment amongst years of many terrible scenes. When we get a ray of sunshine, it feels like an entire season of summer all in one page.

“Butcher Baker Candlestick Maker” has finally jumped up and asserted its claim to be the great story “The Boys” was waiting to tell all along. Butcher’s history couldn’t be a simple and predictable affair. While the whole aspect of Butcher meeting a perfect woman didn’t exactly come out of left field, it is the precision with which Ennis uses her that sets this issue above the others. The other minis for this title were drawn out fluff that disappointed, this book is quite the opposite. The first two issues were good and this one was fantastic. A pity we all know this happiness does not last so thanks to all for giving us at least this one entire issue to smile along with.

More info:

Story by Garth Ennis
Art by Darick Robertson
Colors by Tony Aviña
Letters by Simon Bowland
Cover by Darick Robertson

Publisher:

[Zacharie]

Title: The Boys (Click to go to the release post)
Writer(s): Garth Ennis (Click to see other books from this writer released on this site)
Review source: Aaron Albert (Don't click it, read the review here... )

" In reading the boys, there is a gritty realism that most superhero comic books don’t even come close to talking about."
Review: The Boys 1-3

Content: The Boys is for Mature Audiences and contains extreme situations of violence, language, and sexual situations.

Introduction: Everybody loves superheroes. They are kind, noble, strong, and fight for justice, protecting the innocent from harm. But in the real world they are human beings, full of pride, arrogance, violent tempers, and when defending the innocent, often cause tremendous damage and even take the lives of those very innocent people. In this world, only a group of five keep tabs on those superheroes, protecting us from them.

The Story:The Boys are a, "…a team of five super-powered operatives who work for a secret department within the U.S. government. It's their job to monitor and investigate superhero behavior….” When two super-powered beings go at it, innocent people can often get in the way, as is the case for young Wee Hughie, a man just starting a relationship with a nice girl, but only to have her killed when a superhuman named A-Train slams in to her, killing her instantly.

Wee Hughie is devastated by his loss, and when a mysterious and dangerous man only known as The Butcher offers Hughie a chance at revenge, he can’t help but accept. The Butcher recruits Hughie to join his group known as The Five, and get his chance to put the super humans in their place.

Review: In reading the boys, there is a gritty realism that most superhero comic books don’t even come close to talking about. What happens when an innocent person gets caught in a brawl between good and evil superheroes? Who polices the superheroes? Who will make sure that the superheroes won’t just do whatever they fancy? I mean, who’s going to stop them?


Garth Ennis has been known for his over the top style for some time, pushing the boundaries of what is acceptable for the comic book format. With such titles as Preacher, Just A Pilgrim, and Hellblazer under his belt, fans can know what to expect when it comes to a mature audiences book from Ennis. Ennis has even promised that this book will, “…out-Preacher Preacher.”

For me, the thing that hit home was when Hughie’s girlfriend was killed by A-Train, leaving Hughie an emotional mess. It was one of those, shocker moments, where you can’t believe what your actually reading. The comic has continued to be over-the-top and cutting edge in terms of its graphical content and irreverence for the goody two-shoes comic book hero. What lies ahead can only get harder to watch.

Conclusion: The first three issues of The Boys sets up the series, showing many superheroes for what they truly are, first class jerks, doing more for themselves than their fellow man. What remains to be seen is how this group of watchdogs takes care of the “superhero problem.” With characters like The Butcher in control, it doesn’t bode well for the heroes. I plan on finding out how it’s all going to pan out. Be warned, The Boys is not for kids and has some truly mature content. You have been warned.

More info:

Writer: Garth Ennis
Artist: Darick Robertson

Publisher:

[Zacharie]

Title: Michael Turners Soulfire V3 (Click to go to the release post)
Writer(s): J. T. Krul (Click to see other books from this writer released on this site)
Review source: Chad Bonin (Don't click it, read the review here... )

" There's nothing groundbreaking here, there's no real threats as of yet, but it's an appropriate start to the series."
Review: Michael Turner's Soulfire #1

In a world where warring races of magic-wielders have threaded on the world of modern humanity, a peace has been reached. Thanks to the actions of one seeing this calm as a stalemate, a greater threat has been revealed. Will one boy who just begs for a normal life be called once again to save the day?

Soulfire has started a new volume without its originator. There's no underestimating the impact that the too-early loss of Michael Turner to the world of comics has had. His Aspen Comics company continues his stories, with artists invariably trying to recreate his style. Jason Fabok does his best to keep Turner's style alive, but at the end of the day, the best imitation is still just an imitation.

J.T. Krul spends the issue setting up the new storyline, featuring three characters that we should be accustomed to, and where they are after an indeterminate amount of time. For those who aren't familiar with the world of Soulfire, many of the cards are laid out on the table, with characters rather quickly defined, and almost too easily. Onyx is the one bringing chaos and messing with forces she shouldn't be. Grace is nobility and honor wrapped up neatly in a bikini and dragonfly wings. Malikai is the one kid who has more power than he ever wanted, but enough responsibility to know he must hide from trouble.



For someone who's never read Soulfire, this is a blessing. Things are kept simple to three characters, and instantly we learn their characterizations, if not their motivations and reasons for where they are. For those who are used to the world, this may seem like a slow burn to the third volume. When it comes to the actual plot, it remains a readable and entertaining start, but nothing more. There's nothing groundbreaking here, there's no real threats as of yet, but it's an appropriate start to the series. While the story at this point isn't fully enthralling, there are enough obvious plots started and pasts referenced that it looks worth following longer. At the same time, spreads and short bits of dialogue leave much to visuals, and therefore less to Krul and more to Fabok. Undoubtedly, Aspen Comics enjoys letting the artist be the director of the book as if it were a film, and takes pains not to cover up their nicely detailed (and nicely attractive, predominately female) cast.

Soulfire's first issue of this third volume is a visually appealing refresher course that tries to stand up on its on two feet (or fly with its own two wings) without Michael Turner at the helm. It succeeds, but leaves one wondering if the book is only skin deep.

More info:

Words: J. T. Krul
Art: Jason Fabok
Colors: John Star

Publisher:

[Zacharie]

Title: Lady Death Origins Annual (Click to go to the release post)
Writer(s): Brian Pulido (Click to see other books from this writer released on this site)
Review source: Keith Davidsen (Don't click it, read the review here... )

" Why do we love LADY DEATH fans? Because they’re so dedicated!"
Review: Lady Death Origins Annual #1

Why do we love LADY DEATH fans? Because they’re so dedicated! Our fan base has followed Lady Death’s adventures through thick and thin, over twenty years and myriad incarnations. For those devotees who appreciated Avatar’s relaunch of the series in 2004 (as chronicled in the recent LADY DEATH: ORIGINS series of graphic novels), Boundless Comics is happily returning to those early days of our ivory heroine with the brand spankin’ new LADY DEATH: ORIGINS ANNUAL 2011!

Several years in the making, popular LADY DEATH cover artist Matt Martin has drawn this entire super-size Annual featuring a manic tale of Lady Death’s past! An ungodly, nightmare villainess known as Leviatha sets her sights upon Lady Death, Satasha, and Wargoth. Years before the specter of Death Queen cast its shadow across the Under Realm, the three warriors fought a much different battle for survival, but nothing they have ever faced could prepare them for the soul-crushing agony and morality-testing horrors they must endure to survive in the surrealistic realm within which they have become prisoners. Leviatha has her own secrets, and Lady Death’s only hope is to unlock the truth of the torturous sorceress’ torment before Death claims them all!

As part of the LADY DEATH: ORIGINS series, this story is set before the current on-going monthly and is written by original creator Brian Pulido. Available with a sexy Regular cover by Matt Martin or a Wraparound cover by Richard Ortiz. Also available with a special Art Deco Retailer Order Incentive by painter Michael Dipascale!

More info:

Artist: Matt Martin
Author: Brian Pulido
Cover Artist: Matt Martin
Cover Artist: Richard Ortiz
Cover Artist: Michael Dipascale

Publisher:

[Zacharie]

Title: Emma Frost (Click to go to the release post)
Writer(s): Karl Bollers (Click to see other books from this writer released on this site)
Review source: Tim Hartnett (Don't click it, read the review here... )

" A comic doesn't have to be dark and cutting-edge to be great, and Karl Bollers has proved that to me once again."
Review: Emma Frost #2

When Emma Frost first came out last month, who would've thought that it'd be this good? On paper, the plot sounds like everything that wouldn't appeal to me, but it is done in such a classy and graceful way that I am more that happy to be patronizing the book.

After her apparent seizure last month, Emma wakes up in the nurse's office, ready to take her exam. It is mysteriously postponed, and she later finds out that it was her father who had it postponed---mostly due to the grand financial contributions he makes to her school. When the exam finally comes around, Emma receives an A+, higher than the jealous girls in her class, and ends up having to retake it because of this.

I can't tell you how much I love what Karl Bollers is doing here. Even though this is rated PSR+*, I can see this being a book of universal appeal. The fact that he has put a strong male lead in that of Emma's teacher and her brother, makes this something perhaps likeable to males too. The characterizations are especially important to this work, and are well done too, from the sympathetic teacher, to the stern, weak principal, to the jealous girls in Emma's class. I am pleased and proud to say that this is one of my favorite current new titles, and it tells a coming of age story in one of the best ways I have ever seen. It will be interesting to see how Mr. Bollers bridges the gap between Emma's childhood and her later, more directed nature, but I have every confidence in him that it will be better than it already is.



Randy Green's art does have a cartoonish flair, but it works in this case, as the story doesn't call for much high-impact realism. I'm happy that the colors are done very brightly, and there is thoughtful storytelling in the art to accompany the script. Although the half-naked scene of Emma in the bathroom is unneccessary, I guess something needs to be there to justify the PSR+ rating. I find it funny that people say that the covers on Emma Frost remind us of everything that is wrong with comics. While I can see what they're saying, in that it's more a marketing ploy than anything, I have to admit that Greg Horn's talent makes it all the worthwhile. Even as a young gay man, I have absolutely no problem with the cover it. Admit it, you like it.

So if you want to be surprised with an absolutely well-done story, than buy this book. Or if you want to buy it for the Greg Horn pinup, that's ok too. I'll say it again: a comic doesn't have to be dark and cutting-edge to be great, and Karl Bollers has proved that to me once again.

More info:

Writer: Karl Bollers
Artists: Randy Green and Rick Ketcham

Publisher:

[Zacharie]

Title: Beyond The Fringe (Click to go to the release post)
Writer(s): Joshua Jackson (Click to see other books from this writer released on this site)
Review source: Jeff Jensen (Don't click it, read the review here... )

" Peter takes to a pen — but he’s being watched…"
Review: Beyond The Fringe #1

Now we know what happened to Peter Bishop after he disappeared from history in last May’s season finale of Fringe — he took a job writing comics.

In advance of the Fox’s sci-fi saga’s season four premiere on Friday (9/8c PM), DC Entertainment is launching Beyond The Fringe, a new comic book series that fans of the show can buy for 99 cents via digital download. The first installment — available this afternoon at read.dccomics.com — is written by Joshua Jackson himself and drawn Jorge Jimenez. (Cover art is by Drew Johnson.) New issues will post every two weeks and will alternate between “A storylines” and “B storylines.” The former will explore uncharted regions of the show’s mythology; the latter will feature “what if?” tales that imagine variations of events and adventures.

Jackson’s three-part “A” arc is entitled “Peter and The Machine” and takes place between the events depicted in the season three finale and the forthcoming season premiere. DC Entertainment and Warner Bros. Television supplied EW with a two-page excerpt from the comic, sans captions and word balloons. However, since we watch Fringe wayyy too closely, we might surmise the context.

Recall that in the finale, we learned the secret of The First People’s alleged “doomsday machine.” It wasn’t built eons ago by sophisticated ancients — it was actually built in the future, by Walter himself, sent back in time piece by piece via a wormhole in Central Park. By doing so, Walter created the legend of “The First People.” Judging from these pages, one might wonder if Peter volunteered to ferry the first components of the apocalyptic device through the time tunnel. Exit point: 250 million years in the past. Looks like he spent his caveman vacation penning one of those “First People” diaries.

But then again, we could be wrong.

More info:

Written by Joshua Jackson
Drawn Jorge Jimenez.
Cover art is by Drew Johnson.

Publisher::

[Zacharie]

Title: The Amazon (Click to go to the release post)
Writer(s): Steven T. Seagle (Click to see other books from this writer released on this site)
Review source: Steve Duin (Don't click it, read the review here... )

"If the storyline only slowly gets up to speed, Sale hits the ground running with his art."
Review: The Amazon #1

Dark Horse has a curious history with reprints, by turns both desperate and inspired, but this 20th anniversary edition of The Amazon -- Steven T. Seagle and Tim Sale's 1989 team-up at Comico -- is notable for several reasons.

In an interview at the back of the book, Seagle concedes that The Amazon -- in which magazine reporter Malcolm C. Hilliard heads up river in pursuit of a missing American timber worker and a book deal -- generated precious little in the way of royalties or a radical shift in Brazil's environmental ethic.

Twenty years later, they're still chopping the rain forest off at the knees, Seagle notes, clear-cutting a chunk of the jungle "roughly the size of the state of Rhode Island" in the last five months of 2008: "I don't know if it's that the reach of comics is too small, the execution is not good enough to have a real rhetorical impact, or if the mindset of comics readers is such that they don't want that kind of social critique in their escapism, though I do think that plays some part," Seagle says:

"I just don't see comics as agents of change."


If change is what you're after, a fully realized -- and inspired -- story is what you need, and Seagle doesn't get off to a memorable start in the first issue of this miniseries. That American worker has gone missing (or native) even as the sabotage at the timber camp has begun, and the coincidence is clumsy, at best, when Hilliard sees the American disabling a crane as soon as he reaches the camp. Seagle is equally heavy handed with his lampooning of the local Christian missionaries: "The missionaries believe that what they are doing is right -- spreading Christianity to the uninformed. But in actuality, it's just more strip-mining. In this case, though, it is not timber or malachite. It's tribal religion values -- and culture."

But if the storyline only slowly gets up to speed, Sale hits the ground running with his art.

I suspect that Matt Hollingsworth, who has recolored these pages, deserves a healthy assist, but Sale does a superb job staging the action and playing the angles as Hilliard heads deeper and deeper into that "land without men for men without land." The long, narrow river vistas, the streets of Manaus, the crowded cantina scenes and the lonely nights in Hilliard's hotel dive are all rendered with Sale's trademark precision. Yes, there are a few too many awkward head shots but Sale already knows how to change camera angles without upsetting the rhythm of the story.

I wasn't attending Comico in 1989, as the company spiraled toward insolvency, so I don't know whether Seagle's plotting or Sale's artwork will lend the most to the "rhetorical impact" of the final two issues. But bring 'em on.

More info:

Writer: Steven T. Seagle
Artist: Tim Sale

Publisher:

(original)
(reprint)

[Zacharie]

Title: American Splendor: Unsung Hero (Click to go to the release post)
Writer(s): Harvey Pekar (Click to see other books from this writer released on this site)
Review source: Johnny Heering (Review 1) and Library Journal, (Review 2) (Don't click it, read the review here... )

" Harvey Pekar has a gift for making ordinary life seem extraordinary, and he succeeds again here. "
Review:

Review 1 - Harvey Pekar has done it again. He tells the story of Robert McNeill, who was a black teenaged Marine in Vietnam. Harvey uses McNeill's own words to convey the frequent horrors, and infrequent pleasures, of being in the Vietnam War. The story is ably illustrated by David Collier in stark black and white. Robert McNeill may have been just another marine, but Harvey Pekar has a gift for making ordinary life seem extraordinary, and he succeeds again here.

Review 2 - Acclaimed comics writer Pekar, known for such autobiographical comics as the Harvey-Award winning Our Cancer Year , has been in the public eye recently following the widespread critical success of the film American Splendor , based on his life. Here he takes time out from chronicling his own life to tell the war story of Robert McNeill, a marine corporal who saw combat during the Vietnam War and received a navy commendation for heroism under fire. As relayed by Pekar, McNeil’s account is frank, rambling, and emotionally real, recounting the terror of the trenches, the camaraderie that developed among fellow soldiers, the drug use that helped them cope, and the effects on them of racism (McNeill is black), and the Black Power movement, even so far from home.

Collier’s black-and-white art is roughly realistic in a manner reminiscent of the 1960’s underground comics, and despite occasional awkwardness, it matches the matter-of-fact-tone of the story well. With some nudity and gore, this is recommended for adult collections.

More info:

Writer: Harvey Pekar
Artist: David Collier

Publisher:

[Zacharie]

Title: Code Word; Geronimo (Click to go to the release post)
Writer(s): Captain Dale Dye and Julia Dewey Dye (Click to see other books from this writer released on this site)
Review source: Amina Elahi (Don't click it, read the review here... )

" Don’t bother reading the end passages. It’s not worth your time."
Review:

The raid on Abbottabad that killed Osama bin Laden will forever stand as a night filled with valor and shrouded in mystery. Unfortunately for the brave men of SEAL Team 6, “Code Word: Geronimo” falls short of honoring them.

This graphic novel depicts the before, during and after of the nighttime operation that put an end to the worldwide face of terrorism. Panel by panel, the story unfolds, with decisions flying down left and right and that hokey chatter that seems right only in comics as the soldiers get ready to head out. Graphic novel enthusiasts will enjoy the detailed storyline, even though such granular observations are reminiscent of the New Yorker piece on the subject, for which no one involved was interviewed. The men are built up to be heroes, muscles bulging and square jaws clenched in concentration. Even the tech guy is attractive. It looks like the type of place Barbie would want to go for her bachelorette party. To be fair, Captain Dye said in a press release, “Due to entirely appropriate security concerns, there is some creative license in our script.”

But beyond the comic panes filled with events of the raid and the burly, heart of gold SEALs, the book falls off. What follows after bin Laden’s body gets dumped in the ocean is an afterword that feels more like an afterthought that discusses the term “Geronimo,” the distinction of being a part of SEAL Team 6 and more. However, this part is not only difficult to read, it diminishes the glory with which the team is portrayed just pages before.

Were this book meant to explain the origins and usage of “Geronimo,” perhaps making that a graphic novel would have been worthwhile. As it ended up, somewhat of an afterthought following the story of an attack, it was not worth including. The explanation is little more than a trivia dump and somehow claims that Native Americans are proud that many of our war vehicles (the Chinook choppers used in the raid, for example) are named with their words.

The portion about what it takes to become a member of SEAL Team 6 is interesting but, again, buried in the back. Did the author really think most people would keep reading after the pretty pictures were done?

The recommendation: Pick up a copy if you like graphic novels and want to support veterans (a portion of the proceeds go to the American Veterans Center) but don’t bother reading the end passages. It’s not worth your time.


More info:

Scripted by Captain Dale Dye and Julia Dewey Dye
Art by Gary Kissell

Publisher:

[Zacharie]

Title: Pale Horse (Click to go to the release post)
Writer(s): Andrew Cosby (Click to see other books from this writer released on this site)
Review source: Cosmicbooks (Don't click it, read the review here... )

" This has been easily one of the best books Boom! has published this year, if not ever."
Review: PALE HORSE #4

At the conclusion of this book, I feel both satisfied with the story’s end and eager for more stories from Thomas Cole. This has been easily one of the best books Boom! has published this year, if not ever.

For those who haven’t read the first three issues, Pale Horse is essentially a Western twist on the must-acclaimed Lone Wolf and Cub story; a man’s family (wife in this case) brutally murdered, he takes revenge with his young son in tow. The story is tremendous in its scope and, despite essentially focusing on two human beings, we see another side of the American Civil War that is historical enough to have happened, filled with subterfuge, back room dealings that are familiar to the modern reader and more blood, revenge and murder than you can shake a LeMat Six-Shooter at.

After tracking down and killing the men sent to murder him two issues ago, Cole makes his way back East to find the man he knows is ultimately responsible. Along the way we learn that Cole had, earlier in the Civil War, been a Northern spy posing as a slave in various Confederate states and that he holds a tremendous amount of knowledge damaging to both the Union and the Confederacy. His former superior officer, now a Confederate spy masquerading as a mid-level Union officer, had discovered (due to the bounties on Cole’s head) Cole still lived and knowing Cole could expose him, needed him dead.

Cole proved tougher than anyone anticipated, however, and overcame every challenge tossed his way, as well as others he sought out for himself. We are also given additional “inside info” (fictionalized, of course) regarding Lincoln’s assassination as Cosby & Nelson tie into John Wilkes Booth, whom Cole kills to prevent his escape.

Michael Alan Nelson has become something of a go-to guy for Boom! in the writing department, and while I haven’t loved everything he has written, this series shows what he is truly capable of. Working from Nathan Cosby’s plot, Nelson has created a story that is fast-paced, exciting and completely historically plausible. He has worked in many historical facts and details, as well as general information from the time. The final product is an exceptionally engaging comic story, and I truly look forward to more from this team, and these characters.

More info:

Story: Andrew Cosby
Script: Michael Alan Nelson
Artist: Christian Dibari
Colorist: Andres Lozano
Letterer: Johnny Lowe

Publisher:

[Zacharie]

Title: Kill Shakespeare (Click to go to the release post)
Writer(s): Conor McCreery and Anthony Del Col (Click to see other books from this writer released on this site)
Review source: Jorge Solis (Don't click it, read the review here... )

" Kill Shakespeare is a highly enjoyable adventure."
Review:

Kill Shakespeare, the comics series just collected in graphic-novel form by IDW Publishing, features an eclectic array of literary icons rolled into an epic supernatural adventure. The Bard’s greatest heroes take on his most menacing villains in this original tale woven from his classic works.

Driven by his father’s haunting ghost, Hamlet unintentionally murders an innocent man. To avoid persecution, the young prince is banished from his homeland and escorted to the ship The Antonio. The further away he travels, the more Hamlet sadly realizes he will never reclaim his rightful throne and avenge his father’s death. During an unexpected attack by pirates, Hamlet manages to escape when the ship is swiftly overtaken.

King Richard III comes to the rescue of the young prince, saving his life because the Three Witches have foretold the arrival of the Shadow King. In the battle against good and evil, the Shadow King will face a godlike wizard—William Shakespeare. Hamlet is shocked when he’s told that he is the prophesized Shadow King, the savior of mankind. Hesitant at first, he goes along on the journey because he wants to save his father’s soul, which rots in hell. He crosses into an enchanted forest that leads him to encounter faeries and other mythical creatures.


Yet as he marches forward, Hamlet doesn’t realize he has been deceived. The traitorous Iago follows beside Hamlet, waiting for his chance to kill him. King Richard III and Lady Macbeth want the powerful quill that lies in Shakespeare’s hand, and if Hamlet accomplishes his mystical quest, the supreme power will belong to them. Iago, however, has other plans for the quill, and Hamlet is suddenly alone in the world, with no one to trust. Surrounded by enemies and allies, he has no choice but to pick up a sword, and choose which side he’s on.

This reviewer was worried he might need his high school and college notes before reading KILL SHAKESPEARE. And a bit of research was required when it came to certain characters, such as Tamora, Queen of the Goths—once I had her backstory, it made sense that she’s presented here as a merciless archer. Thankfully, creators/writers Conor McCreery and Anthony Del Col have taken liberties of their own. The writers avoid the debate of whether or not Hamlet is pretending to be crazy, and present their own interpretations; Rosencrantz and Guildenstern are Hamlet’s loyal friends, instead of bumbling comic relief. Andy Belanger’s artwork is vibrantly exaggerated, and unflinching in the violence department; Belanger does not hold back when Richard III savagely gouges a soldier’s eyes out. You’ll be covering your face after you see Juliet hurl a spear through a man’s nose.

Kill Shakespeare is a highly enjoyable adventure. McCreery and Del Col, skillfully juggle a Who’s Who assortment of characters, and Belanger places them in stylishly imagined backdrops on every page. Pick up this freshly original graphic novel.

More info:

Written by Conor McCreery and Anthony Del Col
Art by Andy Belanger

Publisher:

[Zacharie]

Title: Vampirella: The Second Coming (Click to go to the release post)
Writer(s): Phil Hester (Click to see other books from this writer released on this site)
Review source: Richard Boom (Don't click it, read the review here... )

" This series has quality written all over it! In crimson letters!"
Review: Vampirella: Second Coming #1-3

The premise of the story is unheard of in terms of Vampirella Mythology:

“Vampirella is not real. She is an icon of sensuality and power, a viral on the internet, a tattoo, a comicbook and graffiti on a wall. A group of women band together to celebrate Vampirella and while a virus ravages every man in Washington, the band of sisters feel a call and unite..."

My first reaction was "What do you mean, Vampirella is not real!!??". Which of course is silly, since the only 'real' Vampirellas have been famous names like Sascha Knopf, Maria Di Angelis, Scream Queen Julie Strain and Kitana Baker (more to be seen at http://vampimodel.boomvavavoom.com/ and http://www.vampilore.co.uk/models.html).

But my love for the character and my positive encounters with the current editor made me trustworthy and not at all hesitant to try this exciting new premise. And the amazing team, set up by editor Bon Alimagno with writer Phil Hester and artists Daniel Sampere and pinup-specialist Al Rio did most surely deliver! Even the supportive team members (colorist Romulo Fajardo, Jr. and letterer Ed Dukeshire) did their best to both leave their mark as well as making sure the complete team effort runs smoothly. Editor Alimagno also made sure that cover work would be done by amazing well-known artists like Joe Jusko and Arthur Suydam, but also amazing new talent like Ryan Stegman and Franchesco! And if that does not attract the attention, then what about having a 4-issue mini-series with a cover-price set at a staggering $1.99 and also without any interior advertisements! How could this ever go wrong??!!

Well...to be honest; it would go wrong because old fans, new fans, retailers and the general reading and buying public will frown upon the title. When they will remain ignorant of the character based on the visuals of the costume...

They should be listening to the sounds of fans and reviewers alike, who glorify almost every attempt at publishing a story with this sexy character in it and who are only interested in the high and intense quality of the art team.

So how about this very story? A story without Vampirella, but only about Vampirella and her legion of followers?

The story by award-winning Phil Hester has it all: captivating characters who each have plenty and meaningful dialogues, dynamic action and enough eye-candy to have every fan of this visual medium captivated till the end of each issue.


Having read issues #1, #2 and most of #3, already I can say that the quality really takes the reader in at every turn.

Issue #1 sets the stage to a world without a physical Vampirella and the way 'real' people react to the icon named Vampirella. It lets us see a world in which women are caring, strong and honest, but where men are easily deceived by power and chaos. A world without Vampirella, which is being overrun by the minions of Lord Gore; a demon from the Chaos-dimension who was left behind when Vampirella and Lord Chaos died.

Issue #2 shows us the stain that Gore is leaving on the world and the main characters, mostly via indirect televised reports of brutal slaying and conversations about martial law. It also explains what happened in the past and what will be the Chaotic plan to be set in motion and how Vampirella, via her own army of female followers, will try to fight the "bad things," as it were.

Issue #3 more than previous issues seems to put women against men, order versus chaos, love versus hate and good versus evil. This message alone should persuade everyone interested in equality of the sexes to at least take a look at the series and judge by means of story and not judge by the way Vampirella's army dresses! #3 also shows a lot of all-out action which is still supported by a lot of story, contributing to the visuals as well as creating a distance between the visuals and the reader in which the reader is not overwhelmed by the Chaos that is happening.

Halfway during #2 the art chores are taken over by Al Rio.
My previous encounters with Rio's art have been somewhat mixed. While I adore his pinups, his covers and his detailed commissions, I had an opposite feeling about his sequential art. It did not have a good flow and composition, in my opinion. But the pages in Vampirella impressed me. Not only is there an almost seamless transition in story/art, the reader will also see the sequential storytelling is on par with the previous pages and even adds more detail to facial expressions in action sequences and cheesecake moments. Obviously all the hard work of the various teams gave Vampirella fans the possibility to see his best work to date!

Now, this raving all seems like I am a Vampirella fan who is reviewing my favorite character, published by my favorite publishing house with lots of my favorite artists. Well...that is a correct assumption. But besides thát fact, I can see how the art, story and publishing is dealing with my favorite character...and that should make you understand my raving! If they did not treat my beloved 'Rella the way she should be treated, then I would be all over them! This series has quality written all over it! In crimson letters!

More info:

Words: Phil Hester
Art: Daniel Sampere & Al Rio
Colors: Romulo Fajardo, Jr.
Publisher: Harris Comics

Publisher:

[Zacharie]

Title: The Art of Vampirella (Click to go to the release post)
Writer(s): Various artists
Review source: ELIZABETH-AMBER LOVE (Don't click it, read the review here... )

" There are simply too many stunning pieces to references in one review."
Review:

VAMPIRELLA is a character I could easily identify but until now had been able to tell you more than a sentence or two about her. Her origin may have been changed but there’s no denying “Vampi” has endured as one of the longest-lasting female fictional characters in American literature and art.

THE ART OF VAMPIRELLA hardcover does exactly what its creators set out to do: it provides unbelievably gorgeous artwork of one of the strongest female characters in all of comic book history. That being said, the weak parts of the book should be addressed up front so that the most emphasis can be placed on the strong artistic elements.

The main problem with the book is the text. There are numerous typos including funky carriage return symbols in the middle of sentences. Then there’s the verbose text itself written more like filler. There are whole sections that launch into dissertations about Marvel characters, the 1960s feminism zeitgeist and even Dracula cinematic history. While the scantily clad Vampirella surely evokes the fury of feminists, the history lesson could have been handled better. The essays aren’t even credited individually. There are six names credited with having provided “commentary” and most of those are today’s modern artists who have large sections of artwork featured in the book. There’s also no Table of Contents which would have been a great benefit. It’s a coffee table book; but still, someone might want to jump directly to the Joe Jusko section.



Addressing the text content’s best moment, Page 8 explains the long-forgotten backstory behind Vampi’s barely there crimson attire. Most people would never guess that it was the vision of a female artist. Cartoonist Trina Robbins’ recap appears in a sidebar: “Frank [Frazetta] sent him [publisher Jim Warren] some studies of Vampirella, but the costume was all wrong. Warren tried to explain to him what he wanted, and I simply made a sketch of his request on a piece of paper and showed it to him while he was still speaking on the phone.” Robbins was then handed the phone and described her creation to Frazetta and that’s when real comic book and horror history was made in the threads of Vampirella.

The quotes from great artists complimenting others who have had the opportunity to bring Vampirella to canvas or page brings out warm feelings of reverence. The respect from one generation to the next or amongst peers is comforting and genuine. Knowing that Frank Frazetta worshipped the works of José Gonzalez or that Joe Jusko idolized Frazetta shows the possibilities of the comic book industry being a supportive community and not some competitive frat house.

THE ART OF VAMPIRELLA should expose all readers to a few artists’ works they’ve never seen before. Maybe you’re a hardcore Jusko fan but never saw Beck’s work; or maybe you’ll enjoy finding the common themes of Jason Alexander, Christopher Shy and Arthur Suydam. Each artist brings something unique to Vampirella from variations to her costume to the mood behind her eyes. She’s playful, seductive and sometimes so fiercely scary you want to run but just find yourself sucked into her thrall. Franchesco! makes her cute; Stephen Segovia makes her alluring; Dan Brereton makes her more monstrous. Phil Noto’s style of innocence would surely fool any mortal man that walked her way. Then there are the various pin-up Greats like Mark Texeira and Joe Chiodo. There are simply too many stunning pieces to references in one review.

Publisher:

[Zacharie]

Title: The Example (Click to go to the release post)
Writer(s): Tom Taylor (Click to see other books from this writer released on this site)
Review source: Jeff Marsick (Don't click it, read the review here... )

" The Example is fantastic storytelling in a compact form and should be in everyone’s pull file."
Review:

This is the first time I’ve ever posted a review in full but I have to do it. ‘The Example’, was released into comic stores a few weeks ago, needing to go back to press for a second printing in the process.

This book, and the play it’s based on, has been quite the critical success, and Gestalt Publishing pointed out this review it received over at Newsarama. It’s one of the best reviews The Example has ever received and, with that talk of Mamet and Beckett, completely head expanding.

Colin Wilson asked me how much we paid the guy…

“I was considering making this review a single word, but didn’t figure an interjection like ‘wow’ would do it enough service. Most people would probably not even give this book a second glance, given that it’s black and white, weighs all of eleven pages, and is produced by some company no one’s ever heard of, which is a shame. The thing of it is, this book should be used in writing classes everywhere, and should be the primary example (no pun intended) for aspiring comic writers to reference when trying to learn how to write dramatic and compelling dialogue.

Two people are on a train platform: the woman, Sam, has been a resident for a half hour, and Chris, a business type, has logged three-quarters of one. Their train due in is ten, now fifteen, now twenty-five minutes late. Small talk typical of disgruntled passengers ensues, and Sam postulates that it’s a sort of game-of-chicken that the trains play where as soon as one would-be rider leaves in disgust, the train will arrive. It’s a boredom alleviator, railway style. And sure enough, someone from the platform leaves. But…

He left his briefcase behind. Right there. In the center of the platform, clear as day and in the great wide open.


What follows is not only arguably (and I will if pressed) some of the best dialogue written in comics, but some of the best composition of the sequential medium. Each page is a block of nine panels, where said briefcase is the central character, sitting in Paul Lynde’s favorite spot, with the dialogue as a framing device. In this post-9/11 era, anyone who’s done time in our country’s subterranean transport system can understand and appreciate what terror a lone briefcase can instill. And with the turn of each page, the center square gets subtly bigger, indicative of the stakes-raising with each passing minute.

Now, you may think, “You’re telling me that eleven pages of yakking about a briefcase is great? Really? That’s Bendis on any given day.” Except it’s not. This isn’t banal back and forth for the sake of filling space, nor is the reader fed fiberless trivia about each character. We learn what we need from what they say and are quickly drawn to turn the page as Tom Taylor expertly winds up the tension to a climax that will have you wincing as you turn to the final page.

It’s a book that tastes like Mamet, Beckett, or maybe even Frayn. And it’s funny that I mention these Broadway masters because that’s what I thought as I read this: “What a fantastic play this would be.” Turns out I was on to something, since The Example is the comic adaptation of Mr. Taylor’s ten-minute play of the same name, that has won awards and been performed across the globe from Edinburgh to Sydney (I learned this on Mr Taylor’s credit page after reading it).

Gestalt is an Australian company, and if the rest of their line is as compelling as this tiny one-shot, I might become their biggest fan. The Example is fantastic storytelling in a compact form and should be in everyone’s pull file.”

More info:

Writer: Tom Taylor
Artist: Colin Wilson
Cover: Justin Randall

Publisher: